Serlachius Museum Gösta | Michele Merla

The following evaluation has been written of entries selected for the upper class and the prizewinning class… ..."The overall design is very distinctive. The placement is justified for this type of shape and form. The idea of the connection with the manor building is excellent: at the end of the exhibition path, visitors can exit through the main door of the manor. However, the stairway tower has to be made smaller. When the reception hall is closed as hall space, this seems to block the exhibition guests’ access to cloakroom and toilet facilities as well. Festivity and ease of access have resulted in generous dimensioning in this proposal. No summary of the floor areas is presented. The façades are designed with care and skill, emanating hazy mystique and exoticism." The concept for the design of Serlachius Museum Gosta Extension draws inspiration from the natural environment and more specifically from the “wood ” element that marks not only the landscape in which you go to enter the intervention, but also evokes Serlachius, the same family with the production of industrial wood has enhanced this territory and that reality museum. In fact the concept is born both considering the particular context of the site, contemplating the harmony of the same nature and of as it chromatically manifests him an only element that melts the territory, the vegetation and the lake. The intent is that to metaphorically recall the nature, with the use of the materials, to guarantee the integration of the structure in its context and for underline as a point of exemplary reference. The planning has united the existing landscape museum with the new intervention of extension of the old museum, to underline and to emphasize the natural insertion of the project that comes so to converse with the territory with the purpose not to excessively turn it into its natural configuration. The articulation of the spaces is assembled on the presence of “nucleuses” that they contain the different functions, the Hall, the Exposition 1, the Exposition 2, the Collection, tied up between them from runs of organic form recalling the veins that depart from the knot of the wood and that they are issued according to a natural form.